Krazzy 4 Movie Preview

Krazzy kya?

Set to release on the 11th of April 2008, Krazzy 4 is ready and waiting to trigger off some laughing gas to the audience. After Dhol and Dhamaal, the next foursome Krazzy 4 is also waiting to make some big bucks in the box office. A theme inspired from the Malayalam movie Mukilla Rajyathu, director Jaideep Sen and producer Rakesh Roshan are positive about creating waves with this major flick. The movie revolves around the ‘krazzy 4’ Arshad Warsi, Irfan Khan, Suresh Menon and Rajpal Yadav, all of them suffering from various mental imbalances, along with Juhi Chawla as the psychiatrist. The movie has also pitched in Rukh Khan, Hrithik Roshan and Rakhi Sawant for star attraction with an item number each to their credit. Dia Mirza, Rajat Kapoor and Zaakir Hussain are other prominent casts in the movie. Younger brother Rajesh Roshan holds the key to music.

While Krazzy 4 marks the first production-only venture of Rakesh Rosha, it is also after 4 years gap that Irfan Khan and Juhi Chawla are acting in the same film. Juhi has returned to the role of a psychiatrist after a gap of 10 years since Deewana Mastana. While the movie promos are doing their impressive rounds, the soundtrack of Krazzy 4 is questionable. Hopefully, the movie will give everyone some reason to smile.

Krazzy 4 Synopsis

It’s a mad, mad, mad world out there
Someone’s nutty about money …
Someone’s deranged by power…
Someone’s cracked with stress…
Someone’s unhinged by overwork…
Someone’s insanely in love….
It’s a mad, mad, mad world out there
And everybody’s worried they’re going bananas….
Except the Krazzy 4
Because they know they’re already Krazzy!

Raja’s anger knows no bounds, he’ll hit out at the slightest provocation or even without.
Intermittent explosive disorder is what the doctors call it. ‘Sarphira’, is what everybody else does!
Dr Mukherjee is your perfect doc – clean and orderly, not a pin out of place. So what’s wrong with that? Obsessive compulsive personality disorder, that’s what.

Schizophrenic Gangadhar lives in the past…his mates are Nehru and Gandhi, Tilak and Patel! He’s so busy fighting for swaraj and freedom, he’s lost his sanity!Cute Dabboo is everybody’s pet. So what if he hasn’t spoken for years? So what if he’s frightened all the time?

Dr Sonali treats them all. She has faith that all it needs is a little time and lots of patience to make them normal…to make them part of the mad, mad, mad world out there…

But are the Krazzy 4 ready for the world?
And is the world ready for them?
Watch out! The Krazzy 4 are coming your way!!And yes...
If you think they r crazy, think again!

Movie Review: Race

Banner : Tips Music Films,UTV Motion Pictures
Director: Abbas Burmawalla, Mustan Burmawalla
Singers : Sunidhi Chauhan, Neera, Atif, Shaan,K K, Taz, Apache Indian, Monali Thaku
Star Cast : Saif Ali Khan, Akshaye Khanna, Bipasha Basu, Katrina Kaif, Anil Kapoor, Sameera Reddy

In the film, Saif Ali Khan and Akshay Khanna play half brothers who own a huge stud farm
in Cape Town and are the biggest bookies in the sport of horse racing.
Katrina Kaif is Khanna’s personal secretary who loves him.

Bipasha
Basu plays the role of an upcoming Indian ramp model in Cape Town.
Although she loves Saif Ali Khan, a twist of fate gets her married to his
younger brother, Akshay Khanna.

A series of events change the lives of these three characters, resulting
in a death and what follows is a murder mystery. Anil Kapoor plays the
role of a police detective, Sameera Reddy is his personal assistant,
both of whom step in to solve the case.

Sameera Reddy plays a dumb blonde.

Bipasha Basu remarkes fror RACE, "RACE has shaped up so well in spite of
the delay. I'm looking forward to its release. It's my first comedy."
RACE is an action thriller movie.

RACE star cast ram show: for Provogue Autumn-Winter 2007 Collection at The Grand at Delhi

The star walked on the rame for Provogue: Saif Ali Khan, Anil Kapoor,
Bipasha Basu, Sameera Reddy and Akshaye Khanna with their Producers -
Kumar Taurani & Ramesh Taurani, Directors - Abbas & Mastan,
Music Director – Pritam, Lyricist - Sameer and Singer - Atif, Neeraj
& Monali set the ramp on fire, as the RACE Poster was unveiled.

The movie RACE has been shot in beautiful location of Durban, Cape Town and Mumbai.

This is the second time Saif Ali Khan and Akshaye Khanna are together in a
bollywood movie. Before RACE, Saif Ali Khan and Akshaye Khanna have
starred together in Dil Chahta Hai.

Saif Ali Khan and Akshaye Khanna are playing as half brother in the bollywood movie RACE.

This is the first time when the two actresses Bipasha Basu and Katrina Kaif
are coming together. In fact Bipasha Basu and Katrina Kaif and Saif Ali
Khan and Akshaye Khanna are coming together for the first time.

Earlier Mallika Sherawat was Anil Kapoor’s heroine, however Mallika Sherawat was dropped later and Sameera Reddy was signed.

Incidentally, Anil Kapoor who acts in RACE, is the brand ambassador for South Africa.

Movie Review : Jodhaa Akbar

Director : Ashutosh Gowarikar
Music : A R Rahman
Lyrics : Javed Akhtar
Starring : Hrithik Roshan, Aishwarya Rai, Sonu Sood, Kulbhushan Kharbanda, Suhasini Mulay, Raza Murad & Punam Sinha.

The timing of Ashutosh Gowariker’s Magnum Opus could not have been better. A love story set in the 16th century between the Mughal Emperor who ruled Hindustan (now India), Jalaluddin Mohammad Akbar, and a fiery young Rajput princess, Jodhaa. With love as the backdrop, and highlighting the Hindu-Muslim marriage of alliance culminating in love and respect for one another, a day after Valentine’s Day was an apt moment for its release. Moreover, with hate politics being on the agenda, the timing of its release could not have been better. JODHAA AKBAR surely comes as a soothing balm to every Indian. If watched closely, it sends a message loud and clear that country is above everything else, even self! For our warring politicians, for this message alone, this movie is worth many trips to the multiplex.

Viewed as a love story, it portrays beautifully, the defiance of Jodhaa, the Rajput girl who is asked to marry Akbar, a Muslim Emperor. Not one to bow down or suppress her voice, Jodhaa expresses two strong wishes to the Emperor. Only if he agrees will she marry him. The first being he will not force her to change her religion and the second; he will give her a place in his palace to have a temple of her own. Both wishes are granted!

Then comes the tough task of the Emperor trying to get close to Jodhaa. Slowly, she teaches him that winning battles is not everything... he learns to win her heart as well. For lovers, this is a beautiful rendition of a perfect love story.

Ashustosh Gowariker has outdone himself. This movie is a masterpiece, a complete interpretation of what the director has visualized. From costumes, to body language, to background score, to the songs, sets, manpower and lighting... Gowariker has everything spot-on. Cinematographer Kiran Deohans captures through his wide lens the glory of the Moghul Era recreated by Nitin Desai. A R Rahman uses the beat of huge drums to transport you to another era. Pure, acoustic delight. Ravi Dewan recreates the fights that have you on the edge of your seats, while Raju Khan, Rekha Chinni Prakash and Ash Kumar combine to give you some breathtaking dances to do justice to the costumes of Neeta Lulla. The choreography of the tracks Khwaja Mere Khwaja and Azeem-O-Shaan Shahenshah leave you awestruck.

Now, for the performances. The perfectionist that he is, Gowariker has taken pains to pick his entire cast and each one blends with the other to transport you back to an era gone by. Even the extras have been carefully picked.

Hrithik Roshan and Aishwarya Rai Bachahan in the lead role, contrary to beliefs, have come out looking super cool. Both actors complement each other, and both have been given the space to build their characters. I would rate this as Aishwarya’s best performance to date. This is credit to a good director who knows how to extract a performance from his actor. As for Hrithik, he soaks in the moment and one can see him completely surrender himself to Gowariker. He has worked hard on his body language and dialogue delivery. He portrays well the qualities of Akbar. He may not be the perfect Akbar, but he does enough to relive the role of the Emperor; that of a gentle and tolerant ruler with a love for his subjects who even put his life on the line to save his country. His dialogue towards the end where he subjects himself to the might of Sharifuddin Hussain for a sword fight, 'Hum Hindustan ko galat haaton mein jaate nahin dekh sakta', draws a huge applause.

Considering the intricacies of the subject, I guess the three-hour plus length of the movie could not have been avoided.

TO GO OR NOT: Oh yes, politicians and lovers and all those interested in good cinema, a must watch. JODHAA AKBAR is sure to bag a host of awards at next year’s ceremonies.

Movie Review : Black & White

Director : Subhash Ghai
Music : Sukhvinder Singh
Lyrics : Ibraheem Ashk
Starring : Anil Kapoor, Shefali Shah, Habib Tanvir.

Subhash Ghai is synonymous with larger than life movies. Movies that cater to the popular tastes. With BLACK & WHITE, Ghai changes lanes. Deviating from the large canvas, extravagant sets and soulful-music-with-lavish-settings, he comes up with a film that’s real, that pricks your conscience… a film that’s in sharp contrast to his earlier accomplishments.

It truly requires courage to swim against the tide. With BLACK & WHITE, Ghai enters a lane not many master storytellers would dare to venture into.

BLACK & WHITE signifies the coming of age of a seasoned storyteller. Sure, he has made great entertainers that have tremendous recall value, but BLACK & WHITE is a gutsy step. It’s realistic, it’s thought-provoking, it’s topical, but not dark, depressing or preachy.

As a storyteller, Ghai has handled the subject with maturity and a few scenes do leave an indelible impression. But BLACK & WHITE could’ve done with a shorter length and a tighter screenplay. Yet, all said and done, Ghai deserves marks and praise for this courageous step. Watch it for a different experience!

Rajan Mathur [Anil Kapoor] is a Professor in Urdu literature. He resides in Chandni Chowk with his activist wife Roma [Shifaali Shah].

Professor Mathur comes across Numair [Anurag Sinha], who introduces himself as a victim of communal riots in Gujarat. But, in actuality, he is a suicide bomber commissioned by a Muslim fundamentalist group to detonate a bomb near Red Fort on 15th August.

During his fifteen-day journey, Numair manages to take shelter in the Professor’s house and wins the trust and fondness of the couple. While helping Numair to get an entry pass for 15th August celebrations at Red Fort, Professor Mathur introduces him to the warm and loving people of Chandni Chowk.

Amidst all the tension, he is caught in an emotional dilemma whether to go ahead with his mission. Despite his deep-rooted fundamentalist beliefs, he sees this as one of the most colorful and loving areas. Nevertheless, he moves on with his mission. But something is disturbing the mind of this young lad…

The story of BLACK & WHITE [Varun Vardhan] is one of its USPs. BLACK & WHITE tries to peep into the psyche of a human bomb, a fanatic who has a change of heart gradually. The transformation of a heartless, cold-blooded murderer to someone whose inner voice tells him to revolt against his ‘masters’, the change is well depicted on screen.

But BLACK & WHITE is not without its share of hiccups. The romantic track, for instance, stands out like a sore thumb. It could’ve been avoided. Also, the reasons that change the fanatic’s thinking aren’t powerful enough. To be specific, the portions from Shifaali’s brutal murder, to her last rites, to Anil and Anurag entering the Red Fort premises, to the cops arresting the terrorists – the sequence of events should’ve been more dramatic and convincing.

But the last few minutes, when Anurag confronts Milind Gunaji and assaults him brutally, is simply outstanding. One of the finest sequences ever filmed in this genre!

Directorially, Ghai rises beyond the script and has canned a number of sequences well. The portions depicting Afghanistan as also the pre-climax [Anil’s emotional breakdown] are exemplary. Sukhwinder Singh’s music has a soothing effect. ‘Jogi Aaya’ and ‘Main Chala’ are melodious compositions. Somak Mukherjee’s camera captures the bylanes of Delhi well. Dialogues are well worded.

BLACK & WHITE belongs to new-find Anurag Sinha. The newcomer carries the cold, murderous look with gusto, living the role with his electrifying presence. Ghai has been instrumental in carving the careers of several names in the past. Now add Anurag to this illustrious list.

Anil Kapoor proves his versatility yet again. In his last outing [WELCOME], he enacted the role of a person who was on the other side of law. In BLACK & WHITE, he’s a law-abiding citizen and Anil is memorable in this film too. This performance should occupy a coveted place in his impressive repertoire.

Shifaali Shah is excellent. Although the length of the character isn’t substantial enough, the actor stays in your memory thanks to a highly competent performance. Aditi doesn’t get much scope. The senior citizen is first-rate. Aroon Bakshi is efficient. Milind Gunaji does a good job.

On the whole, BLACK & WHITE is a fine effort from a master storyteller who dares to change lanes with this film. In that respect, an effort like BLACK & WHITE needs to be lauded. Targeted at the thinking viewer, the makers and distributors have rightly released the film at multiplexes primarily and the multiplex junta should appreciate the effort, at big centres mainly. It will have to have the backing of a strong word of mouth to climb the ladder.

More than anything else, a film like BLACK & WHITE deserves to be tax-exempted, so that it reaches out to a wider audience across the length and breadth of the country.

After the biggest hit of 2005 - No Entry, Anees Bazmee is back with Welcome starring a very interesting and formidable cast. Right from the promos it looked like another "leave your brains at home" rib tickling comedy. So it comes as no surprise that Welcome has opened huge even in the midst of tough competition from Taare Zameen Par.

Welcome is the story about how Hong Kong based gangsters Uday Shetty (Nana Patekar) and Majnu (Anil Kapoor) try to get Uday's sister Sanjana (Katrina Kaif) married into a respectable family. After a few funny sequences they bump into Rajiv (Akshay Kumar) and all seems favorable but with a hiccup in the form of Rajiv's mama Dr Ghungroo (Paresh Rawal) who is hell bent to get Rajiv married only into a shareef khandaan. Micky Blue Eyes, anyone?

First half of the movie is full of fast paced mad gags. There are many scenes which tickle your funny bones. And what better way than to watch this non-stop enjoyment in a jam-packed theater. How I wish the second half was equally interesting! It has some crazy scenes, no doubt, but Rajiv's plan of trying to reform the gangsters seems too illogical. Also the climax is over stretched. Still overall, Welcome is true to what it promises - hard core masaledar entertainment in the mould of Manmohan Desai, David Dhawan and Priyadarshan movies.

Although everyone gets equal scope in Welcome, the main scene-stealer is Anil Kapoor. In one of his best comic performances since Deewana Mastana, Anil Kapoor's Majnu brings the house down every time he comes on screen. His passion for live painting, one-liners, Munnaisque style and tapori dancing remain with you even after the movie is over. He proves yet again that you cannot write off this good actor yet.

Nana Patekar does well as the wanna-be-actor turned gangster Uday Shetty. The audience could simply not control their laughter the way he controls his anger. Watch him take 57 retakes (the number must have been inspired from his Ab Tak 56) for the horse-riding scene. That reminds me of Vijay Raaj going overboard with his wanna-be-perfectionist-director act. He could have done better. Feroz Khan has been somewhat under utilized. He manages a few laughs with "Abhi hum zinda hain" dialogue and jille-illahi kind of justice. But the script should not have tested our intelligence to the effect that the underworld's most feared don quickly turned into a tame pussycat rather than a crouching tiger.

Paresh Rawal is in great form and in any case no good comedy is complete without him these days. Very true to one of his own dialogues - Naam uska Ghungroo zaroor hai par usko koi bazaa nahin sakta!!! Katrina Kaif looks stunningly beautiful in "Ek uncha lamba kadh, uspe soni bhi tu hadh" and "Kola laka vellari" songs. Smart thing from the director that she does not get much dialogs as she still lacks in that department but honestly who cares as long as she has that tremendous screen presence. Mallika Sherawat contributes enough with her oomph and no one should be complaining.

Still waiting for Akki's report card? Well, it might come as a disappointment for his fans, but to be frank, Welcome is not Akshay Kumar's movie - certainly not in a way we are used to watch him taking honors in all his movies. He looks subdued in most parts, partly because that was what his role demanded, and partly because of Anil Kapoor and Nana Patekar's super performances. He does come into his elements towards the end especially when he shouts "Miracle, Miracle".

Direction by Anees Bazmee, screenplay and dialogs by Praful Parikh, Rajiv Kaul and Bazmee himself have provided yet another mindless hysterical guffaw. Sanjay F Gupta's cinematography is first rate with noteworthy locales of Dubai and South Africa. Some of the songs look grand. Recommended to all who wanna have some fun time.

Taare Zameen Par Reviews

Cast: Aamir Khan, Darsheel Safary, Tanay Cheda, Sachet Engineer, Tisca Chopra and Vipin Sharma.
Director: Aamir Khan
Music: Shankar Ehsaan Loy
Our rating:
Readers rating :

Dyslexia – is it a disease or not? Some of the biggest names in history Albert Einstein, Agatha Christie, Thomas Alva Edison and according to the film even Abhishek Bachchan were slow learners. But that did not deter them from succeeding by far from most other people (barring Abhishek).

Is there space for incompetence in this fast moving world? Ishaan (Darsheel Safary), a nine year old realizes very soon that there isn’t. The young boy who finds it very difficult to cope up with his studies is unable to understand why his father and the world cannot think the way he does. Always at the back of his class, he is sent to a boarding school by his parents. Ishaan who was always close to his mother (Tisca Chopra) and elder brother (Sachet Engineer) now begins to live in a shell. His love for painting is now gone and this is first noticed by his new drawing teacher Ram Shankar Nikumbh (Aamir Khan). Ram is able to identify Ishaan’s problem – dyslexia. He goes and speaks to his parents but his father fails to understand. So now Ram takes it up himself to teach Ishaan.

The first half is definitely more gripping. While setting up the little boy’s character, we enter into a world which adults are unable to see. A vendor making a ‘gola’, cycles going over mud puddles, stray dogs – is there a sense of beauty and curiosity in these that an adult is unable to see or comprehend? That’s what we see through the eyes of Ishaan and through the lens of Aamir Khan.

Aamir’s entry just before the interval is quite filmy in a so far realistic film and lacks the punch that the viewer expects. In India, masala rules and there is a certain section of film-makers who try to lessen the spice but not completely. That is the case with Taare Zameen Par . But just as Ishaan’s father is unable to recognize his son’s issues, the Indian audience too needs to wake up and see the effort that the producers and the director are trying to say. The first half of the film tends to give you a feeling that you are watching an Iranian film.

Is the film completely gripping? No, not at all! Somewhere in the middle of the second half is where it begins to get predictable and the ending doesn’t come as a surprise. But nonetheless, it is a valiant effort from a top actor to go ahead and make a film which flows against the tide and where he is not the central character.

The teacher-student relationship was shown beautifully in Sanjay Leela Bhansali’s Black and though there are few scenes together between and two, it does strike an impact.

Aamir as the director doesn’t do an extraordinary job but sticks to the basics cinematically. But the major problem of the film is that it moves at a constant slow pace. It doesn’t get heavy but gives you a figment of restlessness.

The animation at various junctions in the movie is done with extreme competence and some of best seen in quite a while. What goes through the child’s mind can be quite fascinating and the imaginative sketches are amusing to watch.

The film belongs to none other than the little Darsheel Safary. Emoting just the right expressions at the most unpredictable places, Taare Zameen Par would have crashed completely if it wasn’t for him. Aamir Khan has very less space to showcase his talent but he enacts his part with complete conviction as he takes the film forward.

Don’t be under the impression that it is a children’s film. It’s been quite a while since we saw a sensitive film which the entire family can watch together. Not preachy but not completely entertaining at the same time sums up Taare Zameen Par . Watch it for the lack of melodrama, watch it for the performances, watch it for the sheer genuineness that the filmmakers try to show.

Om Shanti Om Reviews

Om Shanti Om (drama)
Cast: Shah Rukh Khan, Deepika Padukone, Shreyas Talpade
Direction: Farah Khan
Critic rating: /photo.cms?msid=2530803

WELL Mr Subhash Ghai, you must be honoured. Kyunki, Om Shanti Om is such an unabashed tribute to Karz , it makes you want to run home and dig out the old-is-gold DVD and rewind to the saucy seventies when anything was allowed in Bollywood, including souls that slipped through janams, ghosts that walked, chandeliers that killed, mothers who waited centuries for sons to return and filmy romance was all about haseenas, dewaanas and don’t-ask-for-logic attitudes.

Farah Khan’s re-birth saga literally makes an art of retro and paints the seventies pop culture in Andy Warholish strokes. So much so, that you have the past creeping into the present too, in terms of story-line and twists in the tale. The only contemporaneity in the second half, which is anchored in the present, is SRK’s six packs, his dude-fish-mikey-crikey boli and short-skirted Deepika Padukone’s bubblegum avtar .


But are we complaining? Not really, because the film’s meant to be mad, mindless and zany. And we are meant to be happy, headless and nostalgic.

So just sit back and slip into Halleluiah Bollywood mode and count the reasons why masala cinema has been such an intrinsic part of the Indian experience....Because in apun ka fillums , Om Prakash Makhija (SRK) may be a junior artist, but he can have a love story with the reigning diva, Shantipriya (Deepika in a bun).

So what if Shanti loves the devious producer (Arjun Rampal) who dreams of moving to Hollywood after cleaning up his affairs in Bollywood. Our side hero can wait a janam to find a happy ending to his story with Shantipriya look-alike Sandy, the debutant playing leading bhoot in his blockbuster which is actually a revenge story against the mean Mr Rampal who looks even more menacing in grey locks.


The first half of the film is funky, funny and makes an art of kitsch. You’ll find traces of Mother India, Karan Arjun, Karz and many other purana classics as Shah Rukh goes over the top, over the hill, over the mountain and carries you along with his drame baaz histrionics. Deepika as the sad Shantipriya is classy too.

But the film is essentially Shah Rukh’s who manages to add life to the tardy second half too. In his second janam avtar , he is the cool dude with the low waist jeans threatening to slip down and the six pack abs giving muscle to a story that goes dreadfully off track. But the overall experience is paisa vasoo l stuff with loads of naach-gaana (a nice music tracks by Vishal Shekhar) and brainless mazaa .